Socialized "Scenery" Language | | Posted on:2020-11-18 | Degree:Master | Type:Thesis | | Country:China | Candidate:H T Liu | Full Text:PDF | | GTID:2405330575477530 | Subject:Art | | Abstract/Summary: | PDF Full Text Request | | Looking back at the history of art in the West,the development of landscape figurative painting is actually traceable.From the early Renaissance to the emergence of art genres such as impressionism and post-impressionism in the second half of the nineteenth century,paintings as “landscapes” have always played an indelible role in the history of painting,but at that time “landscapes” "It was only presented as a study of the spatial dependency of the large-scale thematic paintings or the language of the form.It has not yet risen to the landscape thinking and exploration of "landscape".Western oil paintings in the twentieth century gradually entered the art school of China,and landscape painting was included as an important category in the teaching system.However,due to the influence of the Soviet realism painting mode and its inherent cognitive limitations,most of the artistic creators’ understanding of the "landscape" still remains at the level of natural scenery and scenery,and also makes it "technical"."Scenery" and creative expression and appeal are two-fold.Therefore,how to make the "landscape" out of a single interesting form is related to the intellectual thinking of painting creation and the constant changes of social culture.This becomes especially important.This paper is also based on the current reality of context and the modern evolution of aesthetics.Taking David Sally,Yuan Yuan and Li Changlong as three typical contemporary figurative artists as examples,through the analysis of the working path of each landscape figurative painting,behind The social discourse and concrete presentation methods,combined with the creative thinking and physical experience of my own landscape figurative painting,to explore the "landscape" transformation of "landscape" in today’s post-industrial and post-colonial era,and as the subject identity of human beings The implication and construction in landscape painting and my own consideration of the cognitive perspective and creative approach of landscape painting. | | Keywords/Search Tags: | landscape, Li Changlong, Yuan Yuan, David Salle, microscopic narrative, reality, Opposition, contact | PDF Full Text Request | Related items |
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